This article focuses on the as yet uncharted impact, in postcolonial literature, of the monster Adamastor, created by Portuguese epic writer Luís Vaz de Camões, by turning to Angolan writer José Eduardo Agualusa’s 1997 novel Nação Crioula: A Correspondência Secreta de Fradique Mendes, a text that engages with the theme of Adamastor, now refashioned as the indigenous female Lusophone Caliban, via the monstrous black character, Gabriela Santamarinha. The article seeks to prove that a reading of Agualusa’s literary engagement with cultural mixtures and fluid identities will benefit from an analysis of the monstrous exaggerations that also populate this epistolary novel, since these play a role in the valorisation of creole transnationality as “normal” and desirable. The first part of the article reads the excessive bodies of Gabriela Santamarinha and Ana Olímpia as a canvas on which to sustain and police a vision of lusofonia as a harmonic world of creolity. The second part locates this alternative couple in a more general reading of the novel as a monstrous text, by tracing its transtextuality back to the legend of Dona Marinha (14th century) as well as the episode of Adamastor (16th century).

中文翻译：

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来自 Adamastor，带着爱：通过 José Eduardo Agualusa 的 Nação Crioula 中的女性怪物不经思考的 lusofonia：Fradique Mendes 的通讯

本文重点介绍葡萄牙史诗作家 Luís Vaz de Camões 创作的怪物 Adamastor 在后殖民文学中的未知影响，并转向安哥拉作家 José Eduardo Agualusa 1997 年的小说 Nação Crioula：与 Adamastor 主题相关的文本，现在通过可怕的黑人角色 Gabriela Santamarinha 重新塑造为土著女性 Lusophone Caliban。这篇文章试图证明，阅读阿瓜卢萨的文学作品中的文化混合和流动身份将受益于对这本书信体小说中也充斥的夸张夸张的分析，因为这些在克里奥尔跨国性的价值化中发挥了作用，使其成为“正常”和可取。文章的第一部分将 Gabriela Santamarinha 和 Ana Olímpia 的过度尸体解读为画布，在其上维持和监管 lusofonia 作为一个和谐的克里奥尔世界的愿景。第二部分通过将其跨文本性追溯到多娜·马里尼亚 (Dona Marinha) 的传说（14 世纪）以及阿达马斯特（Adamastor）的情节（16 世纪），将这对另类夫妇定位于更普遍地将小说解读为一个可怕的文本。